Theatre Design & Technology - Summer 1983 - 16

massive 3600 seat Civic Opera House.
The ew York production, by comparison, is playing the Majestic Theatre with
about 1600 seats. So, instead of using
one extremely large loudspeaker system
(maximum throw about 200 feet) a central cluster was augmented with several
pairs of "side fill" column loudspeakers
and several small under-balcony units
(see Fig. I).
The cluster contains three horns and
two bass bins and is mounted 28 feet
above the show deck. The cluster electronic circuitry contains a Y3 octave filter set for response shaping and a DBX
165 is used as a limiter for protection of
the drivers.
The remaining loudspeakers were
divided into three zones, each having octave band equalization (used sparingly)
and each feeding a DeltaLab DL-I delay
line. Each pair of columns could be
balanced with its own power amplifier.
Basically power amplifiers (and
other electronics) just have to do their
job reliably-forever, if possible. All
the manufacturer's claims of 10- 6 distortion or DC to light frequency response is of little use to the practicing
professional.
The console available for 42nd Street
was the somewhat dated but reliable
Yamaha PMIOOO which has an output
matrix so very useful in proportioning
sub-mixes. This is to say that each main
functioning group of inputs (e.g. orchestra or foots) could be routed on any production to any output (loudspeaker)
group. A few feedback ringing frequencies were taken out of the main foot
mikes with a separate Y3 octave equalizer. Another Y3 octave equalizer was
used for shaping the sound on the wireless submaster to try and improve on the
annoying qualities of the wireless. Because 42nd Street is full of tap dancing
feet five PZM microphones were used
exclusively for tap numbers. Three were
placed on the front of the stage like
foots, and two were placed under the
show deck about 20 feet upstage. All
were radically equalized at the console
for a band pass at approximately 2kHz
to 4kHz.
One additional speaker design was a
separate microphone system for the
"lump," a magnificent set piece several
feet deep and three levels high with
seven booths on each level. There were
twenty-one people on this structure all
intermittently saying lines and singing.

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Figure 3

Space was found on the piece for
four Shure M267 mixers (see Fig. 2) and
each booth had its own small dynamic
lavalier mike. The output off the mixers
fed one input on the Yamaha, making
operation of that scene easy.
In the production of The Dresse/~ a
drama, an elaborate series of sound effects had to be controlled and routed to
various locations in the theatre. The effects were intricately recorded by Ian
Gibson of The Dresser company in England where the show was originally produced. They included simple bomb
blasts, gunfire, and ambulances-typical World War II sounds of conflict,
plus some very effective aircraft "fly
bys" which, when panned at the point
of maximum level and Doppler shift,
made it sound as though Broadway were
under aerial attack.
The effects were recorded on twoand four-track tapes (see Fig. 3), each
effect using a separate track rather than
the full track recordings practice used
for redundancy in control and playback
electronics-if one channel of a [Wo
channel playback should fail or become
noisy, the oppo ite track can be used.
Here redundancy wa sacrificed for ultimate flexibility-as many as eight different effects were po sible at one time.
The Dresser takes place in an old theatre
in a suburb of London before and during a production of King Leat~ as well as

during several air raids. This necessitates the use of many different speaker
locations as planes had to fly over, an
anti-aircraft cannon had to sweep the
skies, and bombs had to whistle and fall
with great realism. To route the signals
to the different channels, an Interface
Electronics control console was used
with twelve inputs, eight outputs, and
two quad pans each feeding four of the
eight outputs.
Two main groups of loudspeakers
were installed, one group of four in the
house, one in each corner, and another
group of four on the stage-one in each
corner. The house speakers were full
range Altec 9846 systems mounted high
above the audience, and the stage systems were augmented with Cerwin Vega
"Earthquake" loudspeakers (an 18"
woofer in a folded horn enclosure).
The bomb effects required such loudspeakers, as well as a large power amplifier (200W Altec 1270). Some of the
taped bomb effects had their low frequencies extended by use of DBX subharmonic synthesizer. Close to one
hundred sound cues kept the sound operator busy and the intensity of the
blasts rattled the theatre.

Jan

Tebozenko is a nationally known
sound designer and system engineer. He
works with Sound Associates of ew
York City.

SITT Summer 1983 Theatre Design &

Technolog~

http://t.o.SE
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1983
Contents
Theatre Design & Technology - Summer 1983 - 1
Theatre Design & Technology - Summer 1983 - 2
Theatre Design & Technology - Summer 1983 - 3
Theatre Design & Technology - Summer 1983 - Contents
Theatre Design & Technology - Summer 1983 - 5
Theatre Design & Technology - Summer 1983 - 6
Theatre Design & Technology - Summer 1983 - 7
Theatre Design & Technology - Summer 1983 - 8
Theatre Design & Technology - Summer 1983 - 9
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